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Tones And I
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3 sheet music found
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1
Toads
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Jazz combo
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Blues
#
Jazz
#
Roger Aldridge
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Toads
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Roger Aldridge
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SheetMusicPlus
Jazz Combo - Digital Download SKU: A0.979631 Composed by Roger Aldridge. Blues,Jazz. Score and parts. 1 pages. Roger Aldridge #428079. Published by Roger...
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Jazz Combo - Digital Download SKU: A0.979631 Composed by Roger Aldridge. Blues,Jazz. Score and parts. 1 pages. Roger Aldridge #428079. Published by Roger Aldridge (A0.979631). Words that come to mind about this piece are strange, edgy, and fun. In just over a minute the music moves seamlessly through four different styles. I think of it as invoking images of mutant creatures wreaking havoc on a small town in a 1950's monster movie. Toads is meant to be OUT. The first section has a minor blues feeling even though it does not have have a minor blues harmonic structure. The solo fills (on E+7 and Db7) are fairly short on the demo recording. They can be played longer and have more of an avant-garde spirit. The second section has an angular melody line, with an emphasis on major 7th intervals, and shifting time. It can start softly and build in volume to the third section. The third section is also angular; however, there is a melodic shift from major 7th intervals to fourths & tri-tones and the rhythm section is in a more straight-ahead style. Finally, the fourth section (last 4 measures) has a funk feeling. CONTACT: http://www.rogeraldridge.com/contact.html PRO: BMI WEBSITE: http://www.rogeraldridge.com/ DURATION: around 4:00 YEAR OF RELEASE: 2010.
$3.00
Pi, Why?
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Jazz combo
#
Roger Aldridge
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Pi, Why?
#
Roger Aldridge
#
SheetMusicPlus
Jazz Combo - Digital Download SKU: A0.979629 Composed by Roger Aldridge. 20th Century,Blues,Jazz. Score and parts. 1 pages. Roger Aldridge #427659. Publi...
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Jazz Combo - Digital Download SKU: A0.979629 Composed by Roger Aldridge. 20th Century,Blues,Jazz. Score and parts. 1 pages. Roger Aldridge #427659. Published by Roger Aldridge (A0.979629). Pi, Why? is an unconventional blues that uses Pi (3.1415926....) as a sequence of melodic intervals. Do not let that scare you away -- the music swings. The structure of this 18-bar tune is based on 3-bar phrases and there is shifting time in places. The first 32 digits of Pi are used in this tune: 3.1415926535897932384626433832795. Here is how I converted the Pi numbers to melodic intervals: Simply, each number becomes an interval in relation to the root of the chord being used at the time. That is, the relationships change when the chords change. The intervals are natural or altered (b9, #9, #11, etc.) chord tones or higher tensions. For 3 on V7 chords, I use either natural 3 or minor 3 (enharmonically #9). The tune starts with the sequence of 3 (#9), 1, 4 (#11), 1, 5, 9 (b9) played twice with C7 (#9) and then transposed down a half-step for B7 (#9). The next sequence -- 2 (b9), 6, 5, 3 (natural), 5 -- is played with the Bb7 (#9) chord and so on through the rest of the 32-note sequence. While 3 is the first number of Pi, that is not why the tune is structured with 3-bar phrases. Simply, the 3-bar phrases felt natural and swinging to me. This tune has a strong blues flavor; however, it is not a conventional 12-bar blues in its structure or chord progression. The A part is 12 bars. Then, the B part is 6 bars with alternating 4/4 and 3/4 (one can think of it as 7/4). The B part also has a harmonic shift from V7 (#9) chords to V9 sus4 and major 7th chords. CONTACT: http://www.rogeraldridge.com/contact.html PRO: BMI WEBSITE: http://www.rogeraldridge.com/ DURATION: around 4:00 YEAR OF RELEASE: 1999.
$3.00
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